Course Description

This course will investigate the ways in which artists have presented narratives in the public realm and the organizations that have made the presentation of those works central to their curatorial practices over the last 40 years. Focusing on recent works presented in New York’s public spaces by Creative Time, The Public Art Fund, the Percent for Art Program, Arts for Transit and other non-profits organizations, this course will look at what it meant to tell stories and open discourses that challenged or interrogated widely-held value systems, the events and the politics of their time. In addition to the specifics of current and other key works and projects, we will discuss the conditions that governed the development of public performance, temporary and permanent installations, the ways in which those works were influenced by public approval processes and governmental agencies, media coverage and community response. Each student’s final project will be an on-line proposal for an exhibition that conveys a “narrative“ developed in the context of this course, referencing other relevant works .

Tuesday, October 13, 2015

Creative Time Response II

Round: Sound for Concave Surfaces by Max Neuhaus




This was a three-day audio installation designed for the landmark rotunda of the U.S Custom House at Bowling Green. The unusual acoustics of the elliptical marble space challenged Neuhaus to create an original work for the project. He engaged audiences in a soundscape that circulated around the space via a ring of speakers, creating the sense of a constant circular movement. It was immediately apparent that sustained electronic sounds were moving around the space. Whatever faded in on the loudspeaker at the viewer’s right would pass on to the loudspeaker on the viewer’s left a beat later, and from there to the other 14 speakers of the outer circle. Every eight beats a new sonority would pass by the viewer, and the music just kept rotating.



Anemones: An Air Aquarium by Otto Piene




Otto Piene interpreted I.M Pei’s architecture at 88 Pine Street as a fish tank and created a walk-through, soft-sculpture environment of inflated fish and sea anemones. The sea life, ranging in size from ten to forty feet, were constructed from red spinnaker cloth and clear polyethylene, and surrounded by multicolored translucent sheets. Then the underwater creatures inflated and deflated according to a timer that Piene set up, thus creating the illusion of slow breathing. For the passersby, Anemones is an unexpected lunchtime air aquarium. The theme of this venture is scale, along with movement,” said Piene.



Rent a Body by Paco Cao






Rent a Body was the United States premiere of a long-term project by Spanish artist Paco Cao. He probed relations between art and commerce by offering himself as a service for the public to rent. Reflective of his interest in the connections between art and the market economy, Cao’s project consisted of an agency in Spain, through which he advertised his services for hire—ranging from being a physical presence ($35/hr) to engaging in intense intellectual activity ($150/hr). They were marketed through brochures distributed on countertop displays in stores, bodegas, and hotels around the city. People rented Paco for a wide array of social experiments taking place in homes, streets, television, and even churches. 

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